by Josh Sewell
The Friend
(Rated R for language including a sexual reference. Opens in theaters on April 4.)
The premise: Based on Sigrid Nunez’s novel, this drama centers on Iris (Naomi Watts), a writer and teacher who finds her life thrown into chaos when her mentor (Bill Murray) suddenly dies and leaves her a charming but massive Great Dane named Apollo (Bing). She’s not a dog person, so Apollo’s arrival creates problems immediately – especially since pets aren’t allowed in her cushy, rent-controlled New York City apartment. However, as Iris unexpectedly bonds with her new roommate, he helps her grieve, heal and find new creative inspiration
The verdict: Although sluggish in places and a little long at two hours, The Friend is ultimately a heartwarming drama about the importance of love and companionship. That might sound cheesy on the surface, but David Siegel and Scott McGehee – who both wrote and directed – ground the story with realistic, flawed characters. Most viewers won’t have experience with their hefty bank accounts or incredible apartments, but their behavior is certainly relatable.
When it comes to strong performances, the cast is stacked. Watts doesn’t always pick the best projects, but her work here is a welcome reminder of what an incredible actress she can be in the right part. Murray, despite featuring prominently in the credits and marketing materials, is only in a handful of scenes, but he’s great in them. Even when he’s not there physically, his character’s presence is deeply felt – and often missed.
It’s always great to see Carla Gugino and her work here is no exception. In fact, I would’ve liked to see even more of her character. She’s got terrific camaraderie with Watts. Sarah Pidgeon, Josh Pais, Constance Wu, Ann Dowd, Noma Dumezweni, Felix Solis and Tom McCarthy are also compelling in brief but pivotal roles.
Finally, for those of us who’ve been traumatized by dog movies in the past (Old Yeller, Marley & Me, John Wick, etc.), I appreciate that the marketing materials for The Friend are fine with spoiling whether Apollo makes it to the end or not. I won’t give it away here; I’ll just say I wasn’t weeping uncontrollably during the credits, which was nice.
Grade: B+
Freaky Tales
(Rated R for strong bloody violence, language throughout including slurs, sexual content and drug use. Opens in select theaters on April 4.)
The premise: Set in 1987 Oakland, California, Freaky Tales is a collection of pulpy, interconnected stories featuring a host of unforgettable characters – including an NBA star (Jay Ellis); a corrupt cop (Ben Mendelsohn); a female rap duo (Normani and Dominique Thorne); teen punks (Jack Champion and Ji-young Yoo); neo-Nazis (including the late Angus Cloud); and a morally conflicted debt collector (Pedro Pascal) – on a collision course of violence.
The verdict: Freaky Tales is a delightfully weird horror/action/sci-fi hybrid that is clearly influenced by the works of iconic filmmakers like Quentin Tarantino and John Carpenter. There are brazen winks to some of my personal favorites like Pulp Fiction and Big Trouble in Little China, so it hit me right in the nostalgic sweet spot.
Although it’s a fun exercise in genre, Freaky Tales is chiefly a love letter to ’80s Oakland from hometown writers-directors Ryan Fleck and Anna Boden. Making their return to indies after their time in the MCU with Captain Marvel, the filmmakers seem to be having a blast now that they’re free of big studio constraints.
Sure, the budget is way smaller, but the cheap special effects and deliberately muddled cinematography (courtesy of Jac Fitzgerald) adds to the schlocky VHS aesthetic. There’s also a killer score from prolific singer-songwriter Raphael Saadiq.
Everyone in the cast looks like they’re having a great time, particularly Mendelsohn (once again relishing the chance to play a slimy villain) and Pascal. The latter gets the movie’s best scene, in which he converses about film with a familiar-looking video store clerk. My advice? Avoid reading anything else about the movie; the surprise of seeing the Oakland-connected actor who pops up in that role left me grinning like an idiot.
Grade: B
The Studio
(Rated TV-MA. Available weekly on Apple TV+.)
The premise: In his new comedy series set in the film industry, Seth Rogen plays Matt Remick, the new head of Continental Studios. As movies struggle to stay relevant, Matt and his team (including characters played by Ike Barinholtz, Chase Sui Wonders, Kathryn Hahn and Catherine O’Hara – all phenomenal) attempt to placate narcissistic artists and bottom-line obsessed corporate overlords. Matt finally has his dream job, but it might end up destroying him.
The verdict: One of the drawbacks of being a movie nerd is that I’m ridiculously behind on television. However, because Rogen’s new show is a satirical look at the movie business, I figured I needed to be on top of this one.
I’m glad I did. After laughing my way through six of the season’s ten episodes, I’m having so much fun watching Rogen and his longtime creative partner Evan Goldberg mock themselves and the industry that has made them rich and famous.
In addition to co-directing and spearheading the series, Rogen is hilarious as the studio head forced to compromise his artistic principles at every turn. In an era where a lot of actors are terrified of sullying their image, he’s unafraid to come off as shallow, petty, hypocritical and pathetic at times. And everyone around him is so toxic that he still might be the most likable character.
The Studio demonstrates quality filmmaking, even as it satirizes specific aspects (like the explosion of lengthy, one-take scenes in movies and TV). Granted, the show might be too inside-baseball for some viewers, but nerds who follow industry news like it’s fantasy football will get a kick out of it. The jokes start to feel a little repetitive as the season progresses, but each episode is short enough that they don’t wear out their welcome.
It’s also clear that Rogen and Goldberg called in a lot of favors from their famous friends and colleagues. There are big-name guest stars in practically every episode, including some truly hysterical work from actor/directors like Martin Scorsese, Sarah Polley, Ron Howard and Olivia Wilde. They’re all so good I wish they’d step in front of the camera more often.
Grade: A-
(Rated R for language including a sexual reference. Opens in theaters on April 4.)
The premise: Based on Sigrid Nunez’s novel, this drama centers on Iris (Naomi Watts), a writer and teacher who finds her life thrown into chaos when her mentor (Bill Murray) suddenly dies and leaves her a charming but massive Great Dane named Apollo (Bing). She’s not a dog person, so Apollo’s arrival creates problems immediately – especially since pets aren’t allowed in her cushy, rent-controlled New York City apartment. However, as Iris unexpectedly bonds with her new roommate, he helps her grieve, heal and find new creative inspiration
The verdict: Although sluggish in places and a little long at two hours, The Friend is ultimately a heartwarming drama about the importance of love and companionship. That might sound cheesy on the surface, but David Siegel and Scott McGehee – who both wrote and directed – ground the story with realistic, flawed characters. Most viewers won’t have experience with their hefty bank accounts or incredible apartments, but their behavior is certainly relatable.
When it comes to strong performances, the cast is stacked. Watts doesn’t always pick the best projects, but her work here is a welcome reminder of what an incredible actress she can be in the right part. Murray, despite featuring prominently in the credits and marketing materials, is only in a handful of scenes, but he’s great in them. Even when he’s not there physically, his character’s presence is deeply felt – and often missed.
It’s always great to see Carla Gugino and her work here is no exception. In fact, I would’ve liked to see even more of her character. She’s got terrific camaraderie with Watts. Sarah Pidgeon, Josh Pais, Constance Wu, Ann Dowd, Noma Dumezweni, Felix Solis and Tom McCarthy are also compelling in brief but pivotal roles.
Finally, for those of us who’ve been traumatized by dog movies in the past (Old Yeller, Marley & Me, John Wick, etc.), I appreciate that the marketing materials for The Friend are fine with spoiling whether Apollo makes it to the end or not. I won’t give it away here; I’ll just say I wasn’t weeping uncontrollably during the credits, which was nice.
Grade: B+
(Rated R for strong bloody violence, language throughout including slurs, sexual content and drug use. Opens in select theaters on April 4.)
The premise: Set in 1987 Oakland, California, Freaky Tales is a collection of pulpy, interconnected stories featuring a host of unforgettable characters – including an NBA star (Jay Ellis); a corrupt cop (Ben Mendelsohn); a female rap duo (Normani and Dominique Thorne); teen punks (Jack Champion and Ji-young Yoo); neo-Nazis (including the late Angus Cloud); and a morally conflicted debt collector (Pedro Pascal) – on a collision course of violence.
The verdict: Freaky Tales is a delightfully weird horror/action/sci-fi hybrid that is clearly influenced by the works of iconic filmmakers like Quentin Tarantino and John Carpenter. There are brazen winks to some of my personal favorites like Pulp Fiction and Big Trouble in Little China, so it hit me right in the nostalgic sweet spot.
Although it’s a fun exercise in genre, Freaky Tales is chiefly a love letter to ’80s Oakland from hometown writers-directors Ryan Fleck and Anna Boden. Making their return to indies after their time in the MCU with Captain Marvel, the filmmakers seem to be having a blast now that they’re free of big studio constraints.
Sure, the budget is way smaller, but the cheap special effects and deliberately muddled cinematography (courtesy of Jac Fitzgerald) adds to the schlocky VHS aesthetic. There’s also a killer score from prolific singer-songwriter Raphael Saadiq.
Everyone in the cast looks like they’re having a great time, particularly Mendelsohn (once again relishing the chance to play a slimy villain) and Pascal. The latter gets the movie’s best scene, in which he converses about film with a familiar-looking video store clerk. My advice? Avoid reading anything else about the movie; the surprise of seeing the Oakland-connected actor who pops up in that role left me grinning like an idiot.
Grade: B
(Rated TV-MA. Available weekly on Apple TV+.)
The premise: In his new comedy series set in the film industry, Seth Rogen plays Matt Remick, the new head of Continental Studios. As movies struggle to stay relevant, Matt and his team (including characters played by Ike Barinholtz, Chase Sui Wonders, Kathryn Hahn and Catherine O’Hara – all phenomenal) attempt to placate narcissistic artists and bottom-line obsessed corporate overlords. Matt finally has his dream job, but it might end up destroying him.
The verdict: One of the drawbacks of being a movie nerd is that I’m ridiculously behind on television. However, because Rogen’s new show is a satirical look at the movie business, I figured I needed to be on top of this one.
I’m glad I did. After laughing my way through six of the season’s ten episodes, I’m having so much fun watching Rogen and his longtime creative partner Evan Goldberg mock themselves and the industry that has made them rich and famous.
In addition to co-directing and spearheading the series, Rogen is hilarious as the studio head forced to compromise his artistic principles at every turn. In an era where a lot of actors are terrified of sullying their image, he’s unafraid to come off as shallow, petty, hypocritical and pathetic at times. And everyone around him is so toxic that he still might be the most likable character.
The Studio demonstrates quality filmmaking, even as it satirizes specific aspects (like the explosion of lengthy, one-take scenes in movies and TV). Granted, the show might be too inside-baseball for some viewers, but nerds who follow industry news like it’s fantasy football will get a kick out of it. The jokes start to feel a little repetitive as the season progresses, but each episode is short enough that they don’t wear out their welcome.
It’s also clear that Rogen and Goldberg called in a lot of favors from their famous friends and colleagues. There are big-name guest stars in practically every episode, including some truly hysterical work from actor/directors like Martin Scorsese, Sarah Polley, Ron Howard and Olivia Wilde. They’re all so good I wish they’d step in front of the camera more often.
Grade: A-
Reach out to Josh Sewell at joshsewell81@gmail.com or on BlueSky @joshsewell.bsky.social
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